The Judgment of Paris

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Despite not having participated in the politicking and maneuvering in the weeks immediately preceding the elections, Ernest Meissonier managed to place fourteenth in the voting. He had been absent for most of the election campaign since he left Paris at the beginning of March, with plans to be back in time for the jury sessions. Once again he traveled south, spending a few days painting landscapes in Antibes, but his primary destination was Italy. In a whirlwind trip of only two or three weeks, ...he made visits to Florence, Siena, Genoa and Parma. Italy had been a place of artistic pilgrimage for Meissonier no less than for so many other artists. He had threatened to run away to Naples when his father at first refused to support his artistic career, and in one of his first excursions he set off, as an aspiring young painter in 1835, to visit the land of Michelangelo and Raphael—though on that occasion an outbreak of typhus meant he got no farther than Grenoble. He had since visited Italy a number of times, most recently in 1860 when, after making his sketches for The Battle of Solferino, he had gone on to Venice and Milan; in the latter, in the Biblioteca Ambrosiana, he had become "drunk with pure beauty" at the sight of Raphael's cartoon for his fresco The School of Athens.1Meissonier's return to Italy in 1870 no doubt had much to do with fresco painting—and with his long-standing desire to elevate his reputation among his fellow académiciens, with whom he had pledged to keep faith by producing "works perhaps more worthy" of their attention.

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